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PAINTING·WHITE DWARF 445

’Eavy Metal Masterclass: Object Source Lighting

August 2019·pp. 126–127

THE SHORT VERSION

Max Faleij explains how a bright source, surrounding halo and cast light work together. Direction, material, distance and overall value contrast determine where the effect belongs, with monochrome checks helping painters judge whether the source is actually brighter than the surfaces it illuminates.

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Find this article in White Dwarf 445, pp. 126–127.

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PaintingWD 445 · pp. 36–37

Paint Splatter: Anvils of the Heldenhammer

James Perry explains why a black spray is followed by a painted black foundation before adding cold edge highlights. Gold, red and pale robes separate the materials, while violet grave-sand and spectral green patches root the Sequitor in Shyish rather than leaving the dark armour without an environment.

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PaintingWD 445 · p. 43

City of Léiriú

Pale city stone is washed blue and drybrushed white before gold details define its sculpted ornament. Painting the base separately makes this textured method quick, with alternative tinted washes offering different crystalline impressions.

Age of Sigmar9 paint colours
August 2019Read summary
PaintingWD 445 · p. 43

The Revelation Desert

A light textured desert receives diluted skeletal shading so that it stays bright rather than becoming muddy. Blue and pink Contrast foliage creates vivid plants against the pale ground, extending the realm’s unfamiliar colour logic onto the base.

Age of Sigmar8 paint colours
August 2019Read summary